Johnathan Gray acknowledges the pre-determining nature of such texts and suggests that the paratext ‘infringes upon the text, and invades its meaning-making process’ (2006: 36). In film and television paratexts take, among others, the form of trailers, promos, reviews and interviews with creative personnel, and are often circulated prior to the film or television show’s release. In publishing, this includes a book’s title, cover, cover art, front matter, back matter, font and other details that frame the way a text is read. In other words, it is what Cronin identifies as ‘all those ancillary elements that coexist and co-mingle with the text proper’ (2014: xvi). First introduced by Gérard Genette, paratextuality is the engagement between a text and the associated surrounding material that contextualizes it (Genette 1997: 1). Specifically, I will focus on how it impacts the meaning-making process and who it engages.
My interest here is not in the details and validity of the theory, but in its paratextual relationship to the Pixar films. The Pixar universe timeline according to the Pixar theory. Early, Silent and Pre-cinematic Animationįig.1.CFP dedicated to accepted SAS 2020 presenters.The Persistence of Walt Disney’s Snow White and the Seven Dwarfs.
0 kommentar(er)
